FOS UE 
LUEBEARL 


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LIBRETTO 


V0 eee eee 


BLUE BEARD 


An Operetta in One Act and Two Scenes 


Libretto by 
ALICE MONROE FOSTER 


Music by 
FAY FOSTER 


BOSTON 
C. C. BIRCHARD & CO. 


Copyright 1924 by 


C. C. BIRCHARD AND COMPANY 


International Copyright Secured 


NOTICE 


The copying, either of separate parts or the whole of this 
work by any process whatsoever, is forbidden by law and 
subject to the penalties prescribed by Sec. 28, of the Copyright 
Law, in force July 1, 1909. License to perform this work 
must be secured from the publishers, sole owners of all rights. 


Orchestral parts may be rented from the publishers 


PRINTED IN THE UNITED STATES OF AMERICA 


7 


Go 


Feiak 
ees a FOREWORD 

This operetta has been written in the laudable endeavor to correct 
the misleading and unjust ideas of Blue Beard’s character which so 
universally prevail. The following is alleged to be the True Story of 
Blue Beard. 

Count Guigo, called BLUE BEARD owing to the color of his volumi- 
nous whiskers, was a wealthy man who lived in a castle on a mountain 
near a little village. 

Although charitable and a public benefactor in many ways, he bore 
a sinister reputation due to the fact that he had, at various times, 
married a number of village girls, all of whom in turn had mysteriously 
disappeared shortly after marriage, never to return. When ROSABEL, 
one of the most beautiful and best-loved of the village girls, announced 
to her companions that she was about to marry this much feared and 
detested person, they, finding remonstrance in vain, consulted a sooth- 
sayer for information and advice. 

This soothsayer revealed the astounding fact that Count Guigo’s 


beard was bewitched, and that a double enchantment had been placed 


upon it which he had no power to resist. 

The first enchantment was that he should love his beard so in- 
ordinately that he would never permit it to be removed;-> the second, 
that this fatal beard should implant in him a resistless impulse to 
destroy any woman who became his wife. The soothsayer suggested 
a way by which the Count might be deprived of his beard, thus lift- 
ing the enchantment. 

The evening before his wedding with ROSABEL was to be celebrated, 
he is dining alone attended only by his two servants, NIMBLE-WIT 
and ADDLE-WIT. He sings a jolly song of good fellowship and one in 
praise of his beard. 

Presently he is alarmed by the sound of moans, wails and the 
clanking as of chains; but he endeavors to convince himself that 
these ominous manifestations are caused by the storm which is raging. 
He appeals to NIMBLE-WIT for confirmation of this conjecture, and is 
informed that it is All Soul’s Night, when spirits of the dead are al- 
lowed to return to earth. 

Much disturbed by this information, BLUE BEARD is trying to 
compose himself, when the ghostly figure of a woman appears, closely 


? 
e) 


followed by others. She informs him that these are shades of his 
departed wives who have come to wreak their vengeance upon him, 
and that this vengeance will be the removal of his beloved beard. In 
vain he begs for mercy; the apparitions gather round him and quickly 
rid him of the beard. . 

Then they confess that his visitors are not supernatural, but are 
village maidens who have played this trick upon him in the interest 
of social and domestic order. 

Relieved of his enchanted beard, the Count finds his whole nature 
changed. He now detests the very thought of the beard, and looks 
with horror upon his past misdeeds, and vows to spend his whole 
future life in charity and good works in the endeavor to make such 
atonement as may be possible. 

He thanks the village maidens, embraces ROSABEL and assures her 
that her confidence in him shall be justified. 


Note. — The authors declare that they have never heard it said that BLUE BEARD 
failed to keep all his promises, and that, so far as they know, ROSABEL lived a long 
and happy life. 


BLUE BEARD 


CHARACTERS 
BLUE BEARD, Count Guigo 
ROSABEL, His Fiancée 


NANETTE, 


eee 


ALWILDA, 
PAMELA, 
HonorIA, Village Maidens, Companions of Rosabel 
CELESTINE, 
GRISELDA, 
GWENDOLYN, 
NIMBLE-WIT, 


}Servants of Blue Beard 
ADDLE-WIT, 


A Chorus of Village Maidens if desired. 


SCENE I 


Interior or exterior scene, according to convenience. 


SCENE II 


A room in BLUE BEARD’s castle. 


TIME 


Evening. 


5 


DIRECTIONS FOR STAGING 


The operetta is easy to put on, as it requires no change of costume, 
and very little scenery. 


SCENES 


I. This may be either in a wood or interior. In the latter case 
no furniture is necessary; a plain background or curtain is sufficient. 
No properties are required in this scene. 

II. A plain, dark curtain around sides and back (circular is good). 
If an interior set is used, avoid light colors; an effect of dark walls 
is desired. 

It is the dining room of an old castle. The only furniture needed is 
a dining table, a chair, and a smaller table to be placed on the side to 
serve from. It is desirable to have all these pieces as massive as pos- 
sible and of old-fashioned design. 


PROPERTIES 


Eight cucumbers; if not in season they can be made of cotton 
covered with green tissue paper. 

A dish of fruit, natural, or the imitation, to be bought at the Five 
and Ten Cent stores. 

A plate, knife, fork, napkins and tablecloths. (The tablecloths 
may be of unbleached muslin painted with radiator paint in solid 
copper color.) 

A dish containing bread; some kind of food on Blue Beard’s plate; 
a dish of sweetmeats. 

A candelabra with lighted candles. 

A lantern with burning candle. 

A large book, if possible, with clasps. 

A hand mirror. 

A dustpan and short-handled broom. 

A very large key, made of cardboard and gilded. 

An immense razor made of cardboard, the handle painted black, 
the blade silvered. 


All is to be as old-fashioned 
as possible. 


COSTUMES 
Blue Beard’s False Beard 


Great pains must be taken that this shall be plausible and in no 
way ridiculous. The color may be very dark, even black if no better 
can be done. (BLUE BEARD is purposely made to speak of its having 
darkened in color.) But have it becoming. BLUE BEARD should be 
made handsome and attractive. It is well to have the beard fasten 
by wire loops over the ears, as he must be able to take it off quickly. 
It should be short on the side, rather inclining to be pointed, and not 
bushy. 

Village Maidens 


Full, round skirts of prettily contrasting bright colored cotton 
goods, with belts of same. Loose white waists, fancifully trimmed 
with ribbon or embroidery. A fancy kerchief or cap on head. Long 
streamers of bright ribbon are pretty and effective fastened on the 
caps. Bright colored beads. White cotton stockings, or they may 
be color of dress; but cotton, not silk. Black pumps, low heels. No 
jewelry, wrist watches, or diamonds! 

Bobbed curly hair is good, but no buns. In short, try to dress as a 
peasant or village girl would and not as a city girl masquerading as one. 


Blue Beard 


BLUE BEARD wears knee breeches of black velvet; black silk hose 
and black pumps; a soft, cream (or white) cotton shirt, bagging over, 
- with a lace jabot. He may wear a fancy coat, something like those 
of Louis Fourteenth’s time, or a pretty lounging robe, preferably the 
latter. The color of his coat or robe should contrast effectively with 
the waists of the two servitors. 


Servitors 


The servitors’ parts are best taken by girls. They wear black 
velvet knee breeches, black hose and pumps. One wears a loosely 
blousing waist of red (turkey red calico is pretty) with full ruffle of 
the same down the front, full elbow sleeves; the other servitor the 
same, except that the waist should be yellow. Nothing on heads. 
Bobbed hair. 

For the ghost scene, about four yards of double-width light gray 
voile for each girl is thrown over the heads in such a way as to en- 


velop the entire body. 
7 


GENERAL DIRECTIONS 


In selecting characters, consider personal appearance and ability 
to act as well as voice. If ADDLE-WIT is small, the effect is good 
if HONORIA is tall and of stately appearance. 

Allow ample time for rehearsals. Insist upon punctuality at re- 
hearsals. Try to have such performers as really wish to be in the 
operetta and enjoy it. It is bad policy to ask any to take part as a 
favor, for such performers are not always painstaking or regular at 
rehearsals. 

The parts of the village girls, and the parts of BLUE BEARD, 
NIMBLE-WIT and ADDLE-WIT, should be rehearsed separately, and 
they should be each practically letter perfect before coming together. 

A full-dress rehearsal should be insisted upon well in advance of 
the performance in order that mistakes may be corrected. 

A competent person who has had some experience, if possible, should 
be appointed to superintend the ‘‘make-ups.”’ 

All should be at the place of performance at least one and a half 
hours before the time set for the rising of the curtain. 

During the rehearsals insist upon attention to what is being done. 
Do not allow whispering, laughing, etc. Urge strongly that each one 
remain always in the picture, as they say. Let every one appear 
always interested in what is transpiring, — smiling or looking serious, 
as occasions demand, even if saying nothing. 

Distinct articulation is of the greatest importance. Every word 
should be easily understood in an auditorium of average size. - 
Amateurs always pitch their voices much too low. Insist upon the 
tone being sufficiently high, the articulation distinct. It is an excel- 
lent test, after an actor knows his part perfectly, to have him go over 
it in a large room, with a person seated at the back, who has never 
heard it. 


SCENE I 


The Village Maidens are assembled to discuss the case of ROSABEL, 
who is determined, against the protestations of her friends, to become 
the wife of BLUE BEARD. Since no warnings of her probable fate 


have made any impression on her, it is finally decided to follow the 
advice of a soothsayer who has been consulted, and by determined 
action to rid BLUE BEARD of the enchantment which is alleged to be 
the source of all his reprehensible qualities, and thus to make it safe 
and advisable for ROSABEL to follow the dictates of her heart. 

This conclusion is not arrived at without considerable discussion 
of the various aspects of the case, but finally it is agreed to make 
the attempt, and the scene ends with their departure for the Count’s 
castle. 

SCENE II 


Curtain rises discovering BLUE BEARD seated at a table, just finish- 
ing dining. Servants bustle about until BLUE BEARD strikes the first 
note of his song, when they instantly stop, assume an ‘‘attention”’ 
position, one on each side of the table, standing motionless during the 
song. NIMBLE-WIT is clever and graceful. ADDLE-WIT is stupid, 
and does everything awkwardly, but greatly admires NIMBLE-WIT 
and endeavors to imitate him. 

As curtain rises BLUE BEARD turns slightly from table toward au- 
dience, assumes an easy attitude, one arm resting on the table, the 
other on arm of chair. Sings. 

At the conclusion of song, BLUE BEARD indicates with a gesture 
that he desires the dishes removed, ordering fruit and sweetmeats 
brought. NIMBLE-WIT brings sweetmeats; ADDLE-WIT cucumbers 
instead of fruit, looking at BLUE BEARD smilingly, awaiting com- 
mendation. When ordered to take the cucumbers away, he snatches 
the dish hastily and awkwardly, dropping some of the cucumbers. 
In stopping to pick them up, drops all the others, finally getting it 
back to the small table from which they serve, and returning with 
fruit. 

In the dialogue where NimMBLE-WIT and ADDLE-WIT both express 
their admiration for BLUE BEARD’s beard, ADDLE-WIT always closely 
imitates NIMBLE-WIT in manner and gesture, but hesitatingly and 
awkwardly. In the same scene where the servants go out with lantern 
and candelabra, great care must be taken that the footlights are 
lowered at precisely the same moment, that it may appear that the 
taking away of the lights has caused the semi-darkness. 

Where the girls appear as ghosts, it is very important that they 
do not walk in the customary manner, but glide silently and very slowly 
to appointed places on the stage forming a semi-circle at back of stage. 


9 


At conclusion of chorus, ‘‘The Hour of Vengeance,’’ BLUE BEARD 
calls for lights, and the servants return with the candles. As they 
do so, the footlights are turned up. 

HonorIA sings the last verse of her solo in a complaining, almost 
tearful, manner, as she exclaims, “Oh BLUE BEARD, you ungrateful 
wretch!’’ She throws up her arms and makes pretense of fainting. 
NIMBLE-WIT and ADDLE-WIT spring to catch her. 

At finale, all form a semi-circle, BLUE BEARD and ROSABEL in front 
of the circle, in center. All wear bright, animated expressions. 


10 


BLUE BEARD 


SCENE 


The scene is as described in the Stage Directions. Before the curtain 
rises voices are heard singing: 


No. 1. UNSEEN CuHorus: “’Tis Truly a Beautiful Beard.” 
(See piano-vocal score for words.) 


The curtain rises on the chorus of Village Maidens, together with 
NANETTE, PAMELA, HONORIA, CELESTINE, GRISELDA and 
GWENDOLYN. The girls are in groups of three or four, and 
from time to time during the following chorus they glance ap- 
prehensively toward R., in which direction BLUE BEARD’s castle 
is supposed to be. 


No. 2. “Ballad of Blue Beard Castle.” 
(All except ROSABEL and ALWILDA.) 
(See piano-vocal score for words.) 
(At conclusion, PAMELA Steps forward, looking toward L.) 


PAMELA. It is surely time Alwilda was here with her report from the 
soothsayer. This is the hour at which she told us to meet her. 

NANETTE. Yes, and I do so hope that she may have learned some- 
thing which may prove of value to us. 

CELESTINE. Why should she not? From all reports, this soothsayer, 
although she has been among us such a short time, has told many 
things unknown to the oldest and wisest of us, and given some 
wonderful advice as well. 

PAMELA. We certainly need her help, now that this terrible Blue 
Beard is about to marry one of our girls, who will undoubtedly 
meet the same fate as his other wives, who were, as all think, 
destroyed. 


(Girls shudder.) 


GRISELDA. Only to think of that dreadful room in which, they say, 
are portraits of all his dead wives. 


11 


CELESTINE. Yes, they say the room is locked, and he gives each wife 
a key with strict orders never to use it, but each one is so curious 
she always opens the door. Then the horror of the sight is so 
great that it is reflected in her countenance, which thus betrays 
her and her fate is sealed. One more is added to the dreadful 
group. 

NANETTE. That is the common talk, but it is hard to believe, when 
we hear every day of his good deeds. Never, apparently, was any 
one more kind-hearted or more charitable. 

CELESTINE. Rosabel is fully determined to marry him? 

PAMELA. Fully. Let us use all our powers of persuasion, when she 
comes today, to convince her that she is making a terrible mis- 
take, though I am sure she will not heed us. Sh! Sh! Sh! Here 
she comes! 


(Enter ROSABEL, L. 1, gaily.) 


RosABEL. Good morning girls. All ready for the wedding tomorrow? 

NANETTE. Dear Rosabel, we want once more to beg you not to marry 
this dreadful ogre, Blue Beard. Remember — 

ROSABEL (interrupting good humoredly, yet with a slight wmpatience). 
Yes, yes, girls, I know all that you would say — have heard it all 
a hundred times, but my determination is not shaken. I tell you 
again, I do not believe these stories about Blue Beard, or Count 
Guigo, as I prefer to call him. It has never been proved that he 
— er — disposed of any of his wives, and even if he had, I should 
believe that witchcraft, and not his own nature, was responsible 
for it. You all believe in witchcraft, do you not? 

ALL. Yes! Of course! Certainly! 

RosABEL. And miracles? 

ALL (divide the exclamations among them). Certainly! I do! Yes, 
indeed! Of course! 

ROSABEL. Well, the days of miracles are not over. Tomorrow I 
shall become the bride of Blue Beard, and I feel that I could work 
miracles myself. Would you know what magic I should use? 

GWENDOLYN (who has a habit of stressing her words). Oh, yes! Do 
tell us! What magic would you use? 

ROSABEL. The magic of — love. 


(The others fall back disgusted.) 


12 


’ 


No. 3. Sone: ‘‘ Miracles.’ 
(ROSABEL and CHORUS.) 
(See piano-vocal score for words.) 


HonoriA. And so, we cannot persuade you to change your mind? 

ROSABEL. You certainly cannot. 

GWENDOLYN. Pardon me — can’t something be done about this? 

ROSABEL (laughing). I am afraid not, dear Gwendolyn, so goodbye 
to all of you, until tomorrow, and don’t bring those long faces to 
the wedding. (Runs off, laughing.) 

ALL. What a pity! Too bad! A shame! 

CELESTINE. Well, all our hopes now are in the results of Alwilda’s 
interview with the soothsayer. 


(Enter ALWILDA, R. 1, breathlessly. Girls run toward 
her.) 


ALL. Alwilda! 

ALWILDA. Oh, I have the most wonderful news for you! The very 
best you could hope for! The soothsayer told me the most 
marvellous things! 

ALL. Yes, yes! Dotell us! Hurry, Alwilda! 

ALWILDA. The soothsayer says Blue Beard is not really a bad man 
at all, but that his beard is bewitched, and a double enchantment 
placed upon it. The first is, that he shall love it so-inordinately 
that he will never allow it to be cut; and the second is, that it 
implants a murderous instinct in him toward any woman he may 
marry, no matter how much he may love her. 

GWENDOLYN. Ah, one moment, please. What can be done about it? 
Something, I am sure. Something always can. 

ALWILDA. If this fatal beard could be cut off — 

ALL. But how? 

ALWILDA. The soothsayer suggested a plan which I think can be 
carried out. 

ALL. Oh! Ah! 

ALWILDA. Gather around close. I must whisper, for if Blue Beard 
should get the slightest hint of it, all would be ruined. 


(Girls gather more closely. ALWILDA whispers a moment. 
Girls clap their hands and express their joy in every pos- 
sible manner.) 


13 


GWENDOLYN (triumphantly). How exciting! I knew something could 
be done about it. Jt always can! 

HonoriA. It does seem so, Gwendolyn. Although there are many 
things which might be rather difficult to manage. For instance, 
say, now, in the desert of Sahara — What could be done in such 
a case as this? 


No. 4. Cuorus. ‘Jungle Pastimes.’’ 
(Village Maidens, with appropriate remarks by GWENDOLYN.) 
(See prano-vocal score for words.) 


GWENDOLYN (after first verse). Pardon, One moment! You see all 
that could be easily prevented. If the traveler would only always 
take his gun along, he could shoot the lion, and it would be all 
right, don’t you see? (Looks from one to another, nodding brightly.) 

HonortiA. Ah, that would be different! But take this case. What 
would you do? 


(Second verse is sung.) 


GWENDOLYN (after second verse). I beg pardon, but the serpent could 
be rendered quite harmless, you know. If some one would just 
take him and extract his fangs, he couldn’t do a bit of harm, isn’t 
it so? 

HonoriA. Ah, that would be different! But listen to this! 


(Third verse is sung.) 


GWENDOLYN (after third verse). Ah, I’m'so sorry, but really! So easy 
to prevent this dreadful thing! All that is necessary is to have his 
teeth pulled and he couldn’t dite, at all! 

Honoria. Ah, that would be different! And in this instance? 


(Fourth verse is sung.) 


GWENDOLYN (after fourth verse). I know I’m a dreadful bore, but right 
here we prove the point I’ve been trying to make right along, that 
something always can be done. And now we're going to do it our- 
selves. We're — going to — 

ALL (interrupting). Sh —sh — sh! 

Honoris. Ah, that would be telling. 


(Girls place their fingers on their lips.) 


14 


No. 5. CuHorus: ‘Blue Beard, Beware!”’ 


(See prano-vocal score for words.) 


END OF SCENE I 


SCENE II 


Scene, a room in BLUE BEARD’s castle. Evening of the same day. 
BLUE BEARD seated at a table, just finishing dining. The two 
servants bustle about until BLUE BEARD strikes the first note of 
his solo, when they instantly stop and stand rigid during the 
song, ADDLE-WIT is stupid and does everything awkwardly, 
imitating NIMBLE-WIT as closely as possible. As curtain rises, 
BLUE BEARD turns slightly from table, assumes an easy attitude, 
one arm resting on table, the other on the arm of his chair. 


No. 6. SoncG: “The Wayside Host.” 
(BLUE BEARD.) 
(See piano-vocal score for words.) 


(BLUE BEARD indicates with a gesture that he desires the 
dishes removed.) 


BLUE BEARD. Enough! I have dined well! Addle-Wit, Nimble-Wit, 
bring fruit and sweetmeats. 


(Servants remove dishes, returning quickly, NIMBLE-WIT 
with sweetmeats and ADDLE-WIT with a dish of cucum- 
bers. ADDLE-WIT moves awkwardly, with quick, short 
steps, sets the dish down complacently, looking at BLUE 
BEARD with a smile, as tf expecting commendation.) 


BLUE BEARD (roaring). Fool! I said fruzt, not cucumbers! 


(ADDLE-WIT hastily seizes the dish, dropping some of the 
cucumbers; hurriedly picks them up, dropping others; 
finally gets off stage with it, returning with fruit.) 


BLUE BEARD. Addle-Wit! Addle-Wit! You are certainly well 
named. I often wonder why I retain such a stupid fool in my 
service. 

ADDLE-WIT (bowing awkwardly). Thank you, Master! 

BLUE BEARD (smiling). I suppose it is because you are such a good- 


natured fool! 
15 


ADDLE-WIT (bowing three times, appearing much gratified). “Thank 
you, Master! Thank you, Master! Thank you, Master! 


(BLUE BEARD raises his glass and holds it at a distance.) 


BLUE BEARD. Ah, this loving cup! A wedding present from wife — 
number seven, I think it was. I can’t quite remember — I 
think it was that enchanting Titian-haired beauty —a dear 
little thing! So confiding! So trustful! She used to call me 
Bee-Bee! (Very sentimentally.) Too bad I had to — well — 
dispose of her the first week, but she would insist upon sitting 
up nights for me, so what could I do? Besides, number eight 
was waiting. 


(Sets down cup and lifts the fruit dish.) 


BLUE BEARD. This also was presented to me by one of my wives. 
Was it the sparkling little brunette, number twelve, that dared 
at times to pull my beard? Sauciness cannot be permitted. Let 
me see! How did I dispose of her? Poison? (Sizghs.) Ah, well! 

ADDLE-WiT. Master, could I — 

BLUE BEARD. Silence! 


(Sets dish down, lifts sweetmeat dish.) 


BLUE BEARD. Another souvenir from — dear me! I really cannot 
retain all these incidents in my memory. Nimble-Wit, bring me 
my matrimonial ledger. 


(Sets dish down. NIMBLE-WIT brings a large, thick 
book with heavy brass clasps. BLUE BEARD takes it, 
turning the leaves and looking at supposititious entries.) 


ADDLE-WIT. Master, will you — 

BLUE BEARD. Silence! Um-m-m— A’s — Amelia, Annette, Amaran- 
thine. Yes! Amaranthine was quite pleasing, really! I married 
her because of her name. So romantic! Amaranthine! Rhymes 
so beautifully with strychnine! I naturally thought of it in her 
case. 


(Turns pages.) 

BLUE BEARD. D’s— Dora, Daphne, Dorcas — Um-m-m — 
(Turns pages.) 

ADDLE-WIT. Master, may I— 


16 


BLUE BEARD. Silence! H— Hannah! Huldah. Ah! Huldah was 
quite impossible! So distressingly careful of my welfare! Nota 
thought beyond pills and powders and plasters, heavy stock- 
ings, nightcaps and warming pans! A common mistake with 
good women! She naturally did not last long. 


(Turns pages.) 
BLUE BEARD. M — Miranda — Mi— 


(A sound as of a long-drawn sigh 1s heard. BLUE BEARD 
starts, looking around as though frightened, dropping the 
book upon the floor.) 


BLUE BEARD. Addle-Wit, remove this ledger. It awakens memories 
too tender and painful. 


(Sighs and low moans are heard. ADDLE-WIT, tn stepping 
forward for the ledger, almost falls over his own foot. 
NIMBLE-WIT itakes the book from him, placing tt on table. 
BLUE BEARD, leans his head upon his hand in a musing 
bosition. Another sigh, louder, 1s heard, ending in a 
prolonged moan. BLUE BEARD starts violently. ADDLE- 
Wit and NIMBLE-WIT exchange glances.) 


BLUE BEARD. What was that sound? Addle-Wit, Nimble-Wit? 
NIMBLE-WIT. I heard nothing, Master. 
AvDLE-Wit. Nor I. It might have been the cat — 


(NIMBLE-WIT nudges him violently.) 
ADDLE-WIT. Ow! 


(He quickly stifles his cry as BLUE BEARD looks angrily 
at him. BLUE BEARD calms himself with an effort.) 


BLUE BEARD. It was the wind, doubtless. (After a slight pause.) 
Bring me the mirror that I may admire my beard. 


(NIMBLE-WIT fetches mirror. BLUE BEARD looks fondly 
at the reflection of his beard.) 


BLUE BEARD. It ts a beautiful beard, is it not? (Looking alternately 
at ADDLE-WIT and NIMBLE-WiIrT.) Of a color as beautiful as it is 
unique? 

NIMBLE-WIT (in a grandiloquent manner). Yes, Master (bowing 
low). It is of an azure equalled alone by the summer sky upon 
a cloudless day. 

17 


(ADDLE-WIT stares at NIMBLE-WIT 1” open-mouthed 
admiration, then endeavors to tmitate him.) 


ADDLE-WIT. Yes, Master. It is like a — a — piece of blue calico! 


(NIMBLE-WIT nudges him and looks at him warningly. 
ADDLE-WIT hastily places his hand over his mouth.) 


NIMBLE-WIT (quickly). It is as the flash of the bluebird’s wing, soar- 
ing aloft into the empyrean depths of the sky. 


(ADDLE-WIT always regards NIMBLE-WIT with admira- 
tion.) 

ADDLE-WIT (nervously). Like — a— bluebottle fly — 

NIMBLE-WIT (quickly). As the marvellous blue of the ocean in the 
wonderful Blue Grotto — 

ADDLE-WIT. Uh — uh — or a bottle of blue ink — 

NiMBLE-WItT. Like the sapphire, the turquoise, the corn flower — 

ADDLE-WIT (interrupting desperately). Like the Rainy Day Blues. 
(Gasps for breath and wipes the perspiration from his face. BLUE 
BEARD laughs.) 

BLUE BEARD. Enough! I am convinced that you both admire it. 
How could you do otherwise? 

(He continues to look affectionately at his beard, stroking 
at. Hands mirror to NIMBLE-WIT. Rises, pacing back 
and forth.) 

BLUE BEARD (musingly). I often wonder why I love it so! For at 
times I feel that it is a curse to me, the cause of all my misfor- 
tunes. Then, I almost hate it! But this mood always passes 
quickly, as I know that this is impossible, and my love for it 
returns tenfold. (After a@ moment's pause he ceases walking.) 
NImMBLE-WiT! The mirror! (Takes it from NIMBLE-WIT and 
again regards his beard admiringly.) 


No. 7. SoneG: “’Tis Truly a Beautiful Beard.” 
(BLUE BEARD.) 
(See piano-vocal score for words.) 


(At the conclusion of BLUE BEARD’s solo, a long, agontz- 
ing watl 1s heard. BLUE BEARD starts so violently that he 
drops the mirror and stands trembling. NIMBLE-WIT 
picks up the mirror.) 

NIMBLE-WIT. Master, the mirror is broken! An evil omen! 


18 


BLUE BEARD. An evil omen indeed! But that frightful sound! You 
certainly heard it! What could it have been? 
NIMBLE-WIT (in a sepulchral tone). It sounded like the anguished 
wail of a lost soul in torment! 
BLUE BEARD (desperately). Yes! Yes! But it wasn’t! It could not 
have been! It was the wind, Nimble-Wit, was it not? 
NIMBLE-WIT (hesitates). Master, have you forgotten that this is All 
Soul’s Night, when the spirits of the unhappy dead may return 
to earth? 
(BLUE BEARD staggers to table, and takes a draught from 
his cup. All the time the moans and wails continue with 
ancreased violence. BLUE BEARD sinks into the chair 
trembling.) 


BLUE BEARD. Nimble-Wit, take the lantern and search the court- 
yard and discover, if possible, the cause of these terrible noises. 
NIMBLE-WIT. Yes, Master. 


(Takes lantern and starts to go out. ADDLE-WIT, seeing 
this, seizes the candelabra from the table, the only lrght, 
and follows after him.) 


BLUE BEARD (almost shrieking). Fool! Bring back the lights! 
ADDLE-WIT. Yes, Master (but he goes on out with lights. As he exits, 
the footlights are lowered so that the stage 1s in semt-darkness.) 

CuHorus (off stage). Oh —oh— oh! Oh — oh — oh! 


(All the girls who were in the first scene appear stlently 
in the different wings. Each 1s enveloped in a large piece 
of thin (not too thin) gray cloth. The faces are hidden. 
Very slowly, and with a silent, gliding movement, they 
enter upon the stage taking their places in a semt-circle at 
back. As this 1s being done, GRISELDA advances toward 
BLUE BEARD with the same gliding motion, holding up 
a large key. As BLUE BEARD sees thts, he starts violently.) 


No. 8. CuHorus: ‘The Hour of Vengeance.” 
(GRISELDA and GIRLS.) 
(See piano-vocal score for words.) 


(During this song BLUE BEARD has been sunk deeply into 
his chair, shrinking as much as possible from the figures. 
At the conclusion, he raises slightly — calls to the serv- 


ants.) 
19 


BLUE BEARD. Nimble-Wit! Addle-Wit! Lights! Lights! 


(NIMBLE-WIT and ADDLE-WIT return with candles, and 
the footlights are turned up. In the meantime, GRISELDA 
has glided to the background. BLUE BEARD, however, 
still shrinks from the figures and does not look at them. 
GRISELDA again advances and, raising her veil, sings.) 


No. 9. Sone: ‘‘Do You Remember, Blue Beard?” 
(GRISELDA. ) 
(See piano-vocal score for words.) 


(As the song 1s finished, GRISELDA glides backward a few 
steps. BLUE BEARD still dares not look at the figures; 
has his head hidden on his arm, at times making motions 
of distress with his hands and head. WHONORIA advances 
threateningly toward BLUE BEARD, and sings.) 


No. 10. Sone: ‘‘Ha! You Old Reprobate!”’ 
(HONORIA. ) 
(See piano-vocal score for words.) 


(Here BLUE BEARD plucks up a litle courage, at the 
remembrance of what he considers his wrongs. He speaks 
as bravely as possible, yet trembling with fear.) 


BLUE BEARD. Yes, and all that was the reason I was compelled to 
— do what I did! What man in his sober senses wants to go to 
bed at half past eight? 

HonoriAa. How dare you attempt to justify yourself? Monster of 
ingratitude! Only to think how I worried over you, watching the - 
sundial to see that you took those beautiful pea green pills of 
Dr. Catchicuris regularly! 


(BLUE BEARD shudders and makes gesture of disgust.) 


HonortiA. Always had the warming pan ready at the proper time, so 
that your bed was beautifully heated. 

BLUE BEARD (weakly). That was nice — 

Honoris. Nice! Yes, and what did I get for it? What did you do 
to me? Answer! What did you do? 

BLUE BEARD (stammering). ‘“‘I — don’t — quite remember. So 
many, you know — Let me look at my matrimonial ledger — 


20 


HoNoRIA (interrupting). Matrimonial ledger! Bah! (Very scorn- 
fully.) Blue Beard! The hour of retribution has come! Do you 
know the vengeance we, the spirits of your departed wives, have 
resolved to wreak upon you? 

BLuE BEARD (always trembling). You will kill me? 

Honoria (laughing scornfully). Worse, much worse, Blue Beard! 

BLUE BEARD. What could be worse? Perhaps you will deprive me 
of my wealth, my vast estates? 

Honoria (more scornfully than before). ‘That would be pleasurable, 
Blue Beard, compared with what we mean todo. Ha! Wretch! 
(Very explosively.) I should like to keep you in suspense, but I 
can no longer refrain from the delight of telling you! Listen, 
Blue Beard. We are going (here she produces a huge razor) to 
shave — off — your — beard!!! (Laughs sardonically.) 


(BLUE BEARD overcome with horror, falls from his chair, 
and crawls on his knees toward HONORIA.) 


BLUE BEARD. Mercy! Mercy! 
HonoriA. No! Such mercy as you meted out to us you shall have. 


(BLUE BEARD crawls from one to another, wringing his 
hands and continuing to cry.) 


BLUE BEARD. Mercy! Human foes I can combat, but no mortal 
can contend against spirits of another world! 
HonorIiA. Seize him. 


(At this the girls surround him closely, in such a manner 
that he cannot be seen from the audience. In a moment 
they separate and ALWILDA Steps forward holding up the 
beard. Care must be taken to hold it carefully and closely 
together at the top, so that 1t cannot be seen that 1t remains 
intact.) 


ALWILDA. At last the spell is broken. Blue Beard no longer! Count 
Guigo is free. 

BLUE BEARD (emerging from the circle). ‘‘Oh, ladies, how could you? 
(Pauses; his face brightens.) And yet, I feel strangely relieved! 
I do not even regret the beard I once loved so fondly! What 
can this mean? 


ral 


ROSABEL (coming forward). May I tell him, girls? My dear, do you 
not see that a trick has been played upon you? These are not 
spirits, but the village girls, my friends. They learned that your 
beard was enchanted, and had been the sole cause of all your 
cruel treatment of your wives, and they chose this manner of 
ridding you of it. You should thank them. 


(ALWILDA lays the beard on the table.) 


BLUE BEARD (with happy countenance). Ah, yes, Ido! You are right. 
I now detest this wretched beard and find its color loathsome. 
Addle-Wit, take it away and throw it on the ash heap. 


(ADDLE-WIT clasps his hands, extending them toward 
BLUE BEARD.) 


ADDLE-WIT (pleadingly). Master, I would not disobey, but — pray 
— let Nimble-Wit do it. 

BLUE BEARD. What! You still have a little love left for it? 

ADDLE-WIT. No, Master. I fear to touch it! But — perhaps you 
would kindly allow me to sweep it up? 

BLUE BEARD (laughing). Yes, Addle-Wit, I permit that! 


(ADDLE-WIT fetches a pan and brush, and, holding them 
gingerly at arms’ length, approaches the beard. As he ts 
about to sweep it into the pan, BLUE BEARD motions him to 
stop.) 
BLUE BEARD. But, stay! Leave it yet awhile, Addle-Wit. We will 
burn it tomorrow at the wedding festivities, with befitting cere- 
monies. That will surely exorcise the evil spirit. 


(ADDLE-WIT bows and goes off with brush and pan, at 
once returning.) 


BLUE BEARD. With what horror do I now look upon my past deeds! 
What a monster I have been! Rosabel, how could you have cared 
for me? Do you not fear to wed me? 


(ROSABEL, with beaming face, extends both hands.) 


ROSABEL. I did not fear before, why should I now? 

BLUE BEARD (drawing her to him). Dear Rosabel, I vow you shall 
never repent. I will devote my life to your happiness and to 
acts of kindness and charity in the endeavor to atone as far as 
possible for the deeds of the past. (Turns to girls.) Girls, I can 


INS 


never thank you sufficiently — but it just occurs to me to wonder! 
How did you gain entrance to the castle, generally so closely 
guarded ? 

Honoria (archly and meaningly). Gwendolyn brought some in- 
fluence to bear on Addle-Wit. 

GWENDOLYN (retorting). And Honoria upon Nimble-Wit. 

BLUE BEARD. Oh—oh! Sits the wind in that corner? Are we to 
have other weddings? 


(NIMBLE-WIT approaches BLUE BEARD, drawing, almost 
dragging, ADDLE-WIT. Both bow.) 


NIMBLE-WIT. With your kind permission, Master! 

ADDLE-WIT. It isn’t my fault, Master. She would have me. 

BLUE BEARD. Well, well, so much the better. Let us have all three 
weddings tomorrow. What say you? 


(HONORIA and NIMBLE-WIT look at each other, reach out 
their hands, and, coming together, bow before BLUE BEARD.) 


ADDLE-WIT. This is so sudden, Master. My trousseau! I fear — 


(GWENDOLYN goes to him, takes him by the hand, and as 
she bows pushes ADDLE-WIT’s head down, whereupon 
he also bows.) 


BLUE BEARD. Good! Most excellent! The future of these two 
couples shall be my especial care. But, Gwendolyn, are you quite 
sure of your mind? Our Addle-Wit is a good, faithful soul, but 
not especially blessed with intelligence, you know — 

GWENDOLYN. I hope you will pardon me, Count Guigo, but some- 
thing can be done about that. It always can, and I shall attend to 
it in this case, personally. 

BLUE BEARD. Nothing could be better. Tomorrow, then, three 
weddings, and it will indeed be a joyous day, as this is a happy 
hour. 

No. 11. FINALE: “Oh, Joyous Day!”’ 


(ENSEMBLE. ) 


(See piano-vocal score for words.) 
CURTAIN 


END OF OPERETTA 


23 


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